I have never seen “FAR FROM THE MADDING CROWD”, the 2015 adaptation of Thomas Hardy’s 1874 novel, in the theaters. And yet . . . my knowledge of this film led me to view two previous adaptations. And finally, I found the chance to view this adaptation, directed by Thomas Vinterberg.

“FAR FROM THE MADDING CROWD” told the story of a young 19th century rural English woman named Bathsheba Everdeene and the three men in her life – a sheep farmer-turned-shepherd named Gabriel Oak; her neighbor and owner of the neighborhood’s largest farm, William Boldwood; and an illegitimate Army sergeant named Frank Troy. Bathsheba first met Gabriel Oak, a former shepherd who had leased and stocked a sheep farm. Gabriel proposed marriage, but Bathsheba rejected his proposal even though she liked him. She valued her independence more. Later, Bathsheba inherited her uncle’s prosperous farm, while Gabriel’s fortune disappeared when his inexperienced sheep dog drove his flock over a cliff. When the pair’s paths crossed again, Bathsheba ended up hiring Gabriel as her new shepherd. Meanwhile, Bathsheba became acquainted with her new neighbor, a wealthy farmer named William Boldwood. He became romantically obsessed with her after she sent him a Valentine’s Day card as a joke. But before she could consider Mr. Boldwood as a potential husband, Sergeant Frank Troy entered her life and she immediately fell in love and married him. Eventually, Bathsheba came to realize that Frank was the wrong man for her.

A good number of people compared this adaptation of Hardy’s novel to the 1967 movie adapted by John Schlesinger. Personally, I did not. As much as I enjoyed the 1967 movie, I have never regarded it as the gold-standard for any movie or television adaptation of the 1874 novel. But like the other two version, Thomas Vinterberg’s recent adaptation had its flaws. Looking back on “FAR FROM THE MADDING CROWD”, I can honestly say that I had at least a few problems with it.

I wish the running time for “FAR FROM THE MADDING CROWD” had been a bit longer than 119 minutes. I believe a longer running time would have given the film’s narrative more time to explore the downfall of Bathsheba and Frank’s marriage. Unfortunately, it seemed as if Vinterberg and screenwriter David Nicholls had rushed through this entire story arc. I was surprised when Bathesheba admitted to Gabriel that her marriage to Frank had been a mistake on the very night of hers and Frank’s harvest/wedding party, when an upcoming storm threatened to ruin her ricks. I realize that this conversation also occurred during the night of the harvest/wedding party in the novel. But from a narrative point-of-view, I believe this conversation between Bathsheba and Gabriel would have worked later in the story . . . when it has become very obvious that her marriage to Frank has failed.

In fact, Frank Troy’s entire character arc seemed to be rushed in this film. Many have complained that Tom Sturridge’s portrayal of Frank was flawed. I do not agree. I did not have a problem with the actor’s performance. I had a problem with Vinterberg and Nicholls’ portrayal of Frank. In my review of the 1967 adaptation, I had complained about the overexposure of Frank’s character in that film. In this version of “FAR FROM THE MADDING CROWD”, Frank’s character seemed to be underexposed. Aside from a few scenes that included Bathsheba and Frank’s first meeting, his display of swordsmanship, his revelation about his true feelings for Bathsheba and Boldwood’s Christmas party; I do not think that this movie explored Frank’s character as much as it could have.

Another aspect of Frank Troy’s arc that suffered in this film was the character of Fanny Robin. Anyone familiar with Hardy’s novel should know that Fanny was a local girl who worked at the Everdene farm. Before Gabriel’s arrival, she had left to become Frank’s wife. Unfortunately, the wedding never happened because Fanny went to the wrong church. Frustrated angry, Frank prematurely ended their relationship. If Frank was underexposed in “FAR FROM THE MADDING CROWD”, poor Fanny was barely developed. I could solely blame Thomas Hardy for this poor use of Fanny’s character, since he was also guilty of the character’s underdevelopment. But I have to blame Vinterberg and Nicholls as well. They could have easily added a bit more to Fanny’s character, which is what the 1998 miniseries adaptation did. Alas . . . audiences barely got to know poor Fanny Robin.

“FAR FROM THE MADDING CROWD” may not have been perfect, but I still found it to be a first-rate film. One, it is a beautiful movie to watch. “FAR FROM THE MADDING CROWD” may have lacked the sweeping cinematography featured in the 1967 movie, but I must admit that I enjoyed Charlotte Bruus Christensen’s elegant, yet colorful photography. I can also say the same about the Art Design team of Julia Castle, Tim Blake and Hannah Moseley; and Kave Quinn’s production designs, which did a stupendous job of re-creating a part of rural England in the late 19th century. But I really enjoyed Janet Patterson’s costume designs, as shown in the images below:

Although the novel was published in 1874, Patterson’s costumes made it apparent to me that Vinterberg had decided to set this adaptation during the late 1870s or early 1880s. Did this bother me? No. I was too distracted by Patterson’s elegant, yet simple costumes to care.

Yes, I had a problem with the film’s limited portrayal of Frank Troy and especially Fanny Robin. But I still enjoyed this adaptation very much. The reason I enjoyed it so much is that Vinterberg and Nicholls did an excellent job of staying true to the narrative’s main theme – namely the character development of Bathsheba Everdene. From that first moment when Gabriel Oak spotted the spirited Bathsheba riding bareback on her horse, to her early months as moderately wealthy farmer, to the infatuated bride of an unsuitable man, to the emotionally battered but not bowed woman who learned to appreciate and love the right man in her life; “FAR FROM THE MADDING CROWD” allowed filmgoers share Bathsheba’s emotional journey during an important period in her life.

The ironic thing is that Bathsheba’s story arc is not the only one featured in this film. Both Vinterberg and Nicholls also explored Gabriel Oak’s personal journey, as well. Superficially, Gabriel seemed to be the same man throughout the film. And yet, I noticed that Gabriel seemed a bit too sure of himself in the film’s opening sequence. He seemed sure of his possible success with a sheep farm and his efforts to woo Bathsheba. And yet, between the loss of his herd and Bathsheba’s rejection, Gabriel found himself forced to start all over again with his life. Although he remained constant in his love for Bathsheba and his moral compass, it was interesting to watch him struggle with his personal frustrations and setbacks – especially in regard to his feelings for Bathsheba.

Whereas audiences watch Bathsheba and Gabriel develop, they watch both John Boldwood and Francis Troy regress to their tragic fates. The strange thing about Frank was that he had a chance for a happier life with Fanny Robin. I still remember that wonderful sequence in which Frank waited for Fanny to appear at the church for their wedding. It was interesting to watch his emotions change from mild fear, hope and joy to outright anger and contempt toward Fanny for leaving him at the altar, all because she went to the wrong church. I still find it interesting that Frank allowed his pride and anger to get the best of him and reject the only woman that he truly loved. Boldwood . . . wow! Every time I watch an adaptation of Hardy’s story, I cannot help but feel a mixture of pity, annoyance and some contempt. He truly was a pathetic man in the end. Perhaps he was always that pathetic . . . even from the beginning when he seemed imperious to Bathsheba’s presence. After all, it only took a Valentine’s card – given to him as some kind of joke – to send him on a path of obsessive love and murder.

The performances in “FAR FROM THE MADDING CROWD” certainly added to the film’s excellent quality. The movie featured some pretty first-rate performances from the supporting cast. This was apparent in Juno Temple’s charming and poignant portrayal of the doomed Fanny Robin. I was also impressed by Jessica Barden for giving a very lively performance as Liddy, Bathsheba’s extroverted boon companion. The movie also featured solid performances from Sam Phillips, who portrayed Frank’s friend, Sergeant Doggett; Victor McGuire as the corrupt Bailiff Pennyways; and Tilly Vosburgh, who portrayed Bathsheba’s aunt, Mrs. Hurst.

As I had earlier pointed out, many have criticized Tom Sturridge’s portrayal of Frank Troy. I do not disagree with this criticism. If I must be honest, I was very impressed with Sturridge’s performance. I thought he conveyed the very aspect of Frank’s nature – both the good and the bad. This was especially apparent in three scenes – Frank’s aborted wedding to Fanny, his initial seduction of Bathsheba, and his emotional revelation of his true feelings for Fanny. It really is a pity that Vinterberg did not give Sturridge more screen time to shine. Thankfully, Michael Sheen was given plenty of screen time for his portrayal of Bathsheba’s possessive neighbor, John Boldwood. I must confess . . . I have never seen Sheen portray any other character like Boldwood. It was a revelation watching the actor beautifully embody this emotionally stunted man, who allowed a silly Valentine’s Day joke to lead him to desperately grasped at at prospect for love.

I had never heard of Belgian actor Matthias Schoenaerts until I saw this film. This is understandable, considering that “FAR FROM THE MADDING CROWD” was the first English-speaking movie in which I had seen him. Vinterberg must have been a major fan of Schoenaerts to be willing to cast him as the obviously 19th century English shepherd, Gabriel Oak. I am certainly a fan of his portrayal of the stalwart Gabriel. Schoenaerts did a superb job in conveying Gabriel’s emotional journey – especially in regard to the ups and downs in the character’s relationship with Bathsheba. I am still amazed by how the actor managed to convey Gabriel’s emotional state, while maintaining the character’s reserve nature.

I believe Carey Mulligan may have been at least 28 or 29 years old, when shooting “FAR FROM THE MADDING CROWD”, making her the second oldest actress to portray Bathsheba Everdene. Some have complained that Mulligan seemed a bit too old to be portraying the early 20s Bathsheba. I can honestly say that I do not agree. During the film’s first 20 minutes or so, Mulligan’s Bathsheba did come off as a bit sophisticated and all knowing. It eventually occurred to me that the actress was merely conveying the character’s youthful arrogance. And yet, Mulligan skillfully conveyed the character’s personal chinks in that arrogance throughout the movie – whether expressing Bathsheba’s insistence that Gabriel regard her solely as an employer, the character’s embarrassment over being pursued by the obsessive Boldwood or Frank’s overt sexual attention to her, or her desperation and humiliation from his emotional abuse. Mulligan gave an excellent and memorable performance.

I cannot say that the 2015 movie, “FAR FROM THE MADDING CROWD” is perfect. Come to think of it, none of the adaptations I have seen are. Despite its flaws, I can honestly say that it is another excellent adaptation of Thomas Hardy’s 1874 novel, thanks to Thomas Vinterberg’s direction, David Nicholls’ screenplay and a superb cast led by Carey Mulligan.

For years, I had made an effort to avoid any novel written by Thomas Hardy and any movie or television production based upon his works. This has nothing to do with how I felt about the quality of his work. My attitude sprang from my reading of his 1886 novel, “The Mayor of Casterbridge”, when I was in my late teens. I found the latter rather depressing and suspected that most of his other works possessed the same downbeat tone. As I grew older, I discovered a tolerance for stories with a downbeat or bittersweet ending. This led me to try Hardy again and so, I focused my attention on the 1998 miniseries, “FAR FROM THE MADDING CROWD”.

Based upon Hardy’s 1874 novel, “FAR FROM THE MADDING CROWD” told the story about a young woman named Bathsheba Everdene, who had recently inherited her late uncle’s prosperous estate. Possessing a vain, yet independent and naïve personality, Bathsheba finds herself torn between three men who wish to marry her:

*Gabriel Oak – a failed sheep farmer who is hired by Bathsheba as a shepherd for her farm

*William Boldwood – a prosperous farmer and Bathsheba’s neighbor, who develops a romantic obsession toward her

*Sergeant Francis “Frank” Troy – a dashing Army sergeant, who turns to Bathsheba not long after his planned wedding to a local girl named Fanny Robin fails to take place.

The story begins with Bathsheba living on a farm with her aunt, Mrs. Hurst. She meets Gabriel Oak, a former shepherd who has leased and stocked a sheep farm. Although the pair develops a close friendship, Gabriel falls in love with Bathsheba and eventually proposes marriage. Valuing her independence too much, Bathsheba refuses and their relationship cools down. Gabriel’s fortunes take a worse for turn, when his inexperienced sheep dog drives his flock of sheep over a cliff, bankrupting him. Bathsheba, on the other hand, inherits her uncle’s prosperous estate in Westbury. Their paths crosses again, and she ends up hiring Gabriel as her new shepherd.

However, Bathsheba has also become acquainted with her new neighbor, the wealthy farmer, John Boldwood, who becomes romantically obsessed with her after she sends him a Valentine’s Day card as a joke. He sets about wooing her in a persistent manner that she finds difficult to ignore. But just as Bathsheba is about to consider Mr. Boldwood as a potential husband, Sergeant Frank Troy enters her life and she becomes infatuated with him. Unbeknownst to anyone, Frank was set to marry one of Bathsheba’s former servants, a young woman named Fanny Robin. Unfortunately, the latter showed up at the wrong church for the wedding. Humiliated and angry, Frank called off the wedding. While Bathsheba finds herself in the middle of a rather unpleasant love triangle between Boldwood and Frank, Gabriel can only watch helplessly as this situation develops into tragedy.

I might as well be honest. “FAR FROM THE MADDING CROWD” did not strike me as completely tragic. It did not prove to be tragic at the same level as stories like “The Mayor of Casterbridge” or “Tess of the d’Urbervilles”. In fact, the story did not even have a tragic ending (for which I am grateful). But there was something . . . I cannot put my finger on it . . . there was an undertone to the story that I found both fascinating and disturbing. And it all revolved around the character of Bathsheba Everdene. Personally, I feel that she was one of Hardy’s best creations. Bathsheba proved to be a curious mixture of virtues and flaws that I fear is becoming increasingly rare among fictional female characters.

One one hand, Bathsheba was an intelligent woman who quickly learned to manage an estate and lead a group of workers who harbored doubts about her, due to her gender. She also had the good sense to realize she lacked the experience or talent to deal with some aspect of estate managing and turn to someone who could help her – usually Gabriel Oak. On the other hand, Bathsheba also proved to be a vain young woman, who seemed a bit too concerned about how others thought about her. This vanity led her to hide her previous friendship with Gabriel . . . to the point that she insisted they maintain an employer-employee distance from each other. Bathsheba also possessed a slightly cruel streak that led her to thoughtlessly play an unkind joke on John Boldwood by sending him a Valentine Day’s card with the words “Marry me” scribbled on it. Ironically, Bathsheba also proved she could be just as obsessive as Boldwood, when she fell for Frank Troy and realizes after their wedding that he had continued to love his former fiancée, Fanny Robin. It was this combination of positive and negative traits that made Bathsheba such an interesting and ambiguous character. And Bathsheba’s ambiguous nature seemed to have a strong impact on Hardy’s tale.

Through Bathsheba’s relationship with Gabriel Oak, audiences received glimpses of the day-to-day realities of business and life on a 19th century farm. Audiences also got a chance to view Bathsheba through Gabriel’s eyes – despite his love for her, he seemed to harbor a realistic view of her. Through her relationships with neighbor John Boldwood and husband Frank Troy, audiences got the chance to see Bathsheba deal with obsession from both sides of the fence – whether she was the object of Boldwood’s obsession or Frank was the object of hers. Now that I think about it, I find it odd that a major character would experience obsession from different perspectives in that manner. How strange . . . and yet, satisfying in a way.

Although the plot for “FAR FROM THE MADDING CROWD” focused strongly on the romantic dynamics between Bathsheba, the three men in her life and the Fanny Robin character; I was pleased to discover that Philomena McDonagh’s screenplay also gave audiences many glimpses into the lives of the farmhands that worked for Bathsheba. The miniseries delved into her relationship with her workers and their own perspectives and hangups over whether she could handle being the owner of prosperous farm. As with her relationship with Gabriel, Bathsheba’s relationship with her workers allowed the audiences to appreciate the realities of life on a 19th century farm.

The production values for “FAR FROM THE MADDING CROWD” seemed pretty top-notch. Well . . . most of them. I had no problems with Adrian Smith’s production designs. I thought he did an excellent job in re-creating mid 19th century Wessex. Rosie Hardwick and Paul Kirby’s art direction contributed to the movie’s overall look, along with Nic Ede’s costume designs. I find it interesting that this version is set between the late 1850s and 1860, especially since the other two adaptation are set in the 1870s . . . the same decade as the novel’s publication. Although I admire John Daly’s use of the locations in Derbyshire, Cheshire and Wiltshire as substitutes for Wessex, I did not care for the cinematography very much. I found it slightly too dark and the color did not hold up well in the following seventeen to eighteen years.

The cast, on the other hand, struck me as first-rate. It is a pity that very few ever comment on Paloma Baeza’s portrayal of Bathsheba Everdeen. Frankly, I thought she did an excellent job in conveying both the character’s ambiguities, charm and intelligence. More importantly, she did a first-rate job in carrying such a large production on her shoulders, at such a young age. Nathaniel Parker’s portrayal of Gabriel Oak proved to be the production’s emotional backbone. But the actor also did an excellent job in conveying his character’s quiet passion, along with his jealousy and growing despair over Bathsheba’s relationships with both John Boldwood and Frank Troy.

John Terry was at least a decade older than the John Boldwood character at the time this miniseries was filmed. However, I do not believe that this decade old age difference hampered his character one whit. He gave an outstanding performance as the love-sick, middle-aged farmer who developed a growing obsession over the young and pretty Bathsheba. At first, I had some difficulty is viewing Jonathan Firth as the dashing, yet egotistical Frank Troy. I fear this had to do with my inability to view the actor as the roguish type. And I was not that impressed by the sword demonstration scene between his his character and Baeza’s Bathsheba. But the more I watched Firth on the television screen, the more I found myself impressed by his performance . . . especially by the time his character had married Bathsheba and began to reveal his less than pleasant traits to his new wife. Natasha Little gave a very charming, yet sympathetic performance as the hard-luck Fanny Robin, whose mistake in showing up at the wrong church for her wedding to Frank, proved to be so disastrous. Fortunately for Little, the screenplay allowed her to portray Fanny as an individual with her own set of emotions, instead of the mere plot device that Hardy had portrayed in the novel. The production also benefited from solid performances by Tracy Keating, Gabrielle Lloyd, Linda Bassett, Phillip Joseph, Rhys Morgan, Reginald Callcott and Sean Gilder.

“FAR FROM THE MADDING CROWD” may have suffered from questionable photography, but I certainly had no problems with other aspects of the productions. Its 216 minutes running time allowed screenwriter Philomena McDonagh and director Nicholas Renton to create a superb and detailed adaptation of Thomas Hardy’s novel. Also, top-notch production values (aside from the photography) and excellent performances from a cast led by Paloma Baeza and Nathaniel Parker added a great deal to already well done miniseries.

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

To my knowledge, there have been five adaptations of Thomas Hardy’s 1874 novel, “Far From the Madding Crowd”. One of them is even a modern day adaptation. I have not seen this modern version of Hardy’s novel. But I have seen at least three adaptations, including the 1967 version directed by John Schlesinger.

“FAR FROM THE MADDING CROWD” – at least the 1967 version – has been highly regarded by critics, moviegoers and fans of Hardy’s novel for nearly five decades. It is the adaptation that other ones have been measured against . . . much to their detriment.“FAR FROM THE MADDING CROWD” was a different direction for Schlesinger. It would prove to be the first of five period productions directed by him. Schlesinger and screenwriter Frederic Raphael stuck as closely to Hardy’s novel as they possibly could. The movie was not a hundred percent adaptation of Hardy’s novel, but it was pretty close.

Anyone familiar with Hardy’s novel know the tale. It begins with a young 19th century Englishwoman named Bathsheba Everdene, living on a farm with her aunt, Mrs. Hurst. She meets Gabriel Oak, a former shepherd who has leased and stocked a sheep farm. Gabriel falls in love with Bathsheba and eventually proposes marriage. Although she likes Gabriel, Bathsheba values her independence too much and rejects his marriage proposal. Gabriel’s fortunes take a worse for turn, when his inexperienced sheep dog drives his flock of sheep over a cliff, bankrupting him. Bathsheba, on the other hand, inherits her uncle’s prosperous estate. Their paths crosses again, and she ends up hiring Gabriel as her new shepherd.

Bathsheba has also become acquainted with her new neighbor, the wealthy farmer John Boldwood, who becomes romantically obsessed with her after she sends him a Valentine’s Day card as a joke. He sets about wooing her in a persistent manner that she finds difficult to ignore. But just as Bathsheba is about to consider Mr. Boldwood as a potential husband, Sergeant Frank Troy enters her life and she becomes infatuated with him. Frank was set to marry one of Bathsheba’s former servants, a young woman named Fanny Robin. Unfortunately, the latter showed up at the wrong church for the wedding and an angry and humiliated Frank called off the wedding. Bathsheba finds herself in the middle of a rather unpleasant love triangle between Boldwood and Frank, while Gabriel can only watch helplessly as the situation develops into tragedy.

“FAR FROM THE MADDING CROWD” is a beautiful movie to behold . . . visually. One can credit the movie’s sweeping and colorful look to its iconic cinematographer Nicolas Roeg. Thanks to the latter, the English counties of Wiltshire and Dorset never looked lovelier. Not surprisingly, Roeg earned a BAFTA nomination for his work. The movie also benefited from Richard Macdonald’s production designs, which did an excellent job in recreating rural England in the mid 19th century. This was especially apparent in those scenes that featured Gabriel’s arrival at Shottwood, and his attempts to get hired as a bailiff or a shepherd at a hiring fair; the harvest meal at the Everdene farm; Bathsheba’s meeting with Frank in Bath; the rural fair attended by Bathsheba and Mr. Boldwood; and the Christmas party held by Mr. Boldwood. I will not pretend that I found Richard Rodney Bennett’s score particularly memorable. But I must admit that it blended well with the movie’s plot and Schlesinger’s direction. I also noticed that Bennett added traditional English folk songs in various scenes throughout the movie.

I have seen at least two movie versions and one television adaptation of Hardy’s novel. And it occurred to me that the main reason why I ended up enjoying all three adaptations so much is that I really liked Hardy’s tale. I really do. More importantly, all three adaptations, including this 1967 movie, did an excellent job in capturing the novel’s spirit. With a running time of 169 minutes, “FAR FROM THE MADDING CROWD” took its time in conveying Hardy’s story . . . with a few little shortcuts. And thanks to Schlesinger’s direction and Raphael’s screenplay, the movie not only recaptured both the idyllic nature of 19th century rural England, but also its harsh realities. More importantly, the movie brought alive to the screen, Hardy’s complex characters and romances. Hollywood once made a movie about a woman torn between three men in 1941’s “TOM, DICK, AND HARRY” with Ginger Rogers. But the complexity between the one woman and the three men was nothing in compare to this tale. Especially, when the leading lady is such a complex and ambiguous character like Bathsheba Everdene. Another aspect of “FAR FROM THE MADDING CROWD” that I enjoyed were the interactions between the movie’s leads and the supporting cast who portrayed Bathsheba’s employees. Like her relationships with Gabriel, Frank and Mr. Boldwood; the leading lady’s relationships with her employees – especially the women who worked inside her home – proved to be very interesting.

There was a good deal of controversy when Julie Christie was announced as the actress to portray Bathsheba Everdene. Apparently, the media did not consider her capable of portraying the tumultuous mid-Victorian maiden . . . or any other period character. Well, she proved them wrong. Christie gave a very skillful and nuanced performance as the ambiguous Bathsheba, capturing the character’s passion, vanity and at times, insecurity. Terence Stamp was another actor more associated with the Swinging Sixties scene in London, but unlike Christie, his casting did not generate any controversy. I might as well place my cards on the table. I think Stamp proved to be the best Frank Troy I have seen on screen, despite the first-rate performances of the other two actors I have seen in role. He really did an excellent job in re-creating Frank’s charm, roguishness and unstable nature. Thanks to Stamp’s performance, I can see why Schlesinger became so fascinated with the character.

Despite Christie and Stamp’s popularity with moviegoers, the two actors who walked away with nominations and an award were Peter Finch and Alan Bates. No matter how interesting all of the other characters were, I personally found the William Boldwood character to be the most fascinating one in Hardy’s tale. And Peter Finch, who won the National Board of Review Award for Best Actor did a superb job in bringing the character to life. Finch beautifully re-captured the nuances of a character that I not only found sympathetic, but also a bit frightening at times. Alan Bates earned a Golden Globe nomination for his portrayal of the stalwart Gabriel Oak, which I believe he fully deserved. I think portraying such a minimalist character like Gabriel must be quite difficult for any actor. He is a character that required real skill and subtlety. Bates certainly did the job. The actor managed to convey the passion that Gabriel harbored for Bathsheba without any theatrical acting and at the same time, convey the character’s introverted and sensible nature. The movie also benefited from some skillful and solid work from its supporting cast that included Golden Globe nominee Prunella Ransome, who portrayed the tragic Fanny Robin; Fiona Walker (from 1972’s “EMMA”); Alison Leggatt; John Barrett; and iconic character actor, Freddie Jones.

As much as I enjoyed “FAR FROM THE MADDING CROWD”, there were some aspects of the production that I found troublesome. Earlier, I had pointed out that Schlesinger had seemed so fascinated by the Frank Troy character. And while this contributed to Terence Stamp’s presence in the movie, Schlesinger’s handling of the character threatened to overshadow the entire movie. Quite frankly, he seemed a bit too obsessed with Frank for my tastes. This heavy emphasis on Frank – especially in two-thirds of the movie – also seemed to overshadow Bathsheba’s relationship with Gabriel Oak. At one point, I found myself wondering what happened to the character. Worse, the chemistry between Julie Christie and Alan Bates had somewhat dissipated by the movie’s last act to the point that it barely seemed to exist by the end of the movie. And Schlesinger allowed the “ghost” of Frank Troy to hover over Bathsheba and Gabriel’s future relationship by ending the movie with a shot of a toy soldier inside the Everdeen-Oak household. No wonder Stamp was credited as the male lead in this film.

There were other aspects of “FAR FROM THE MADDING CROWD” that either troubled me or failed to impress me. I am at a loss on how Prunella Ransome earned a Golden Globe nomination for her portrayal of Fanny Robin. Mind you, she gave a very good performance. But she was on the screen for such a small amount of time that there seemed to be no opportunity for the narrative to delve into her character. Ransome’s Fanny came off as a plot device and a part of me cannot help but blame Hardy’s original novel for this failure. Although I cannot deny that Nicholas Roeg’s cinematography was visually beautiful to me; I also found myself annoyed by his and Schlesinger’s overuse of far shots. It reminded me of how director William Wyler and cinematographer Franz F. Planer nearly went overboard in their use of far shots in the 1958 western, “THE BIG COUNTRY”. I read somewhere that Alan Barrett had earned a BAFTA nomination for Best Costume Designs for this film. I do not mean to be cruel, but how in the hell did that happened? I have to be frank. I was not impressed with the costumes featured in this film. Although I managed to spot a few costumes that struck me as a well-done re-creation of fashion in the mid-to-late 1860s, most of the other costumes looked as if they had been rented from a warehouse in Hollywood or London. Not impressed at all.

Aside from my complaints, I enjoyed “FAR FROM THE MADDING CROWD” very much. A good deal of delight in the film originated with Thomas Hardy’s original tale. But if I must be honest, a good deal of filmmakers have screwed up a potential adaptation with either bad writing, bad direction or both. Thankfully, I cannot say the same about “FAR FROM MADDING CROWD”. Thanks to the first-rate artistry of the film’s crew, a well-written screenplay by Frederic Raphael, a very talented cast led by Julie Christie; director John Schlesinger did an excellent in bringing Hardy’s tale to the screen.

4. “Far From the Madding Crowd” (2015) – Carey Mulligan, Matthias Schoenaerts, Tom Sturridge and Michael Sheen starred in this well done adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman who attracts three different suitors. Thomas Vinterberg directed.

5. “Around the World in 80 Days” (1956) – Mike Todd produced this Oscar winning adaptation of Jules Verne’s 1873 novel about a Victorian gentleman who makes a bet that he can travel around the world in 80 days. Directed by Michael Anderson and John Farrow, the movie starred David Niven, Cantiflas, Shirley MacLaine and Robert Newton.

7. “Fort Apache” (1948) – John Ford directed this loose adaptation of James Warner Bellah’s 1947 Western short story called“Massacre”. The movie starred John Wayne, Henry Fonda, John Agar and Shirley Temple.

8. “Zulu Dawn” (1979) – Burt Lancaster, Simon Ward and Peter O’Toole starred in this depiction of the historical Battle of Isandlwana between British and Zulu forces in 1879 South Africa. Douglas Hickox directed.

9. “Young Guns” (1988) – Emilio Estevez, Kiefer Sutherland and Lou Diamond Phillips starred in this cinematic account of Billy the Kid’s experiences during the Lincoln County War. The movie was directed by Christopher Cain.

I suspect that many do not want to hear or read this. But I have to say something. I feel that Lucasfilm and J.J. Abrams went TOO FAR in their creation of Rey for “STAR WARS: EPISODE VII – THE FORCE AWAKENS”. She is a Mary Sue. She is too perfect. And I am not afraid to admit it.

Why is it that STAR WARS fans demand that the saga’s leading women characters should be written as ideal or perfect? That is not a good idea for a well written character. A well written character should have a balance of flaws and virtues. Rey is ALL VIRTUES. She has no flaws. Not really. In a short space of time, she learned to fly a spacecraft and tap into the Force in order to use the Jedi Mind Trick and use a lightsaber to defeat an opponent already trained with the ways of the Force – namely Kylo Ren aka Ben Solo. If it were not for her interactions with the former stormtrooper Finn, I would find her completely boring.

This is why I prefer a character like Bathsheba Everdene from Thomas Hardy’s 1874 novel, “Far From the Madding Crowd”. As a character, Bathsheba was an interesting mixture of virtues and flaws. She was a better written character than someone like Rey. Even STAR WARS characters like Leia Organa and Padme Amidala managed to be better written, due to the fact that the two characters possessed both virtues and flaws – despite fandom’s demand that they be regarded as ideal.

As for Rey, I hope and pray that Rian Johnson, who is now serving as director and screenwriter for “EPISODE VIII”, has made her character more complex. If not, I cannot see myself being interested in her story for the next two films.